Interpreting MulaNation’s Horror at the time of #COVID19

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The world has already seen enough horror at the hands of the deadly COVID-19 pandemic since late last year. Against that milieu, this piece will take a look at ‘Horror’; a music video by the burgeoning Zimbabwean Rap group MulaNation featuring Narga, ScripMula, and Lord Breezie shot by SIMDOC.

Symbolism

On a visual level, there is a lot of symbolism in reference to the underworld. The visuals are impressive, we see a lot of green trees and water spaces filled with algae.  I suspect it was shot in the pristine Eastern Highlands. This is an environmental aspect that is neglected in modern Hip-Hop music videos.

While dealing with their car issues, out of thin air what looks like a vampire appears.

Caught off guard, the young men run away.

From introspection, that scene conveys how we can never run away from our own inner demons because at some point they will catch up with us.

Blending Hip-Hop with Spirituality gave this song a new perspective different from the predictable objectification of women etc.

The video, in addition, pays tribute to African culture and how our ancestors would communicate with us using human vessels. Demonic possession is illustrated on the page boys and sangomas. The storyline, though abstract challenges us as humans to look into our own horror.

Musically, Horror isn’t the happiest song but there are a lot of subliminal truths that only a few will figure out.

Incidentally, the synthy piano is like a choir from heaven backing the rappers up as they talk about their encounters with the spiritual world. The bass line gave the song a Matrix-style, warzone atmosphere reminding us of the visual battle between good and evil.

The theme and the musicality definitely complement each other, the sound is dark even though there are ounces of Pop.
The music is wavy, it has a vibey touch to it which cool kids will enjoy but a subjective listener will take time to listen to the message and interpret it.

Out of 10, this song deserves a 7.5.

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